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DavidF.G

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Layout in Adobe InDesign 1.5Images processed in Photoshop 5.5Printed on a Minolta Color Pageworks PSScans from an Agfa SCSI 600Computer: custom assembled P-III / 866Operating System: Windows 2000Last revision: July 1, 2000

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This is...

...noticeably and admittedly, not a conventional résumé.

Blind observance of tradition and obsession with structure

are not qualities that benefi t radio broadcasting. Calcu-

lated change, excitement and entertainment are the qualities

that will allow the medium to continue to be at the vanguard

of content providers even as internet radio, direct satellite

and other technical systems compete for listener attention.

Our advertisers will be lured by the sirens of the new media,

as will some of our best talent.

This presentation is as much a celebration of what makes

radio great and exciting as it is a résumé. Anecdotally,

it even offers proof that good, sound radio principles work

with audiences that are seemingly culturally and geographi-

cally different, and illustrates the adage that it is far

simpler to sell a #1 station than an also-ran.

But most of all, this publication was fun to prepare as it

allowed me to review all the exciting moments, trends and

happenings of 40 years of Radio.

David Gleason

June, 2000

This is...

...noticeably and admittedly, not a conventional résumé.

Blind observance of tradition and obsession with structure

are not qualities that benefi t radio broadcasting. Calcu-

lated change, excitement and entertainment are the qualities

that will allow the medium to continue to be at the vanguard

of content providers even as internet radio, direct satellite

and other technical systems compete for listener attention.

Our advertisers will be lured by the sirens of the new media,

as will some of our best talent.

This presentation is as much a celebration of what makes

radio great and exciting as it is a résumé. Anecdotally,

it even offers proof that good, sound radio principles work

with audiences that are seemingly culturally and geographi-

cally different, and illustrates the adage that it is far

simpler to sell a #1 station than an also-ran.

But most of all, this publication was fun to prepare as it

allowed me to review all the exciting moments, trends and

happenings of 40 years of Radio.

David Gleason

July, 2000

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1959-1963WCUY, Cleveland, OH. Part time board operator, short-lived announcer, and "Go-fer"

1963Intern at duopoly group operator Organización Radio Centro, México, D.F.

1964-1970Owner and manager, Núcleo Radión, Quito, Ecuador. Built group of 12 AM and FM

stations, including Northern South America's fi rst independent FM facility.1970-1972

General Manager, WUNO, San Juan, Puerto Rico. 1972-1975

Consultant with variety of clients in the American Southwest. Completed college at same time.1975-1980

Vice President and General Manager, Pueblo Communications, WQII & WZNT, San Juan, Puerto Rico.1980-1981General Manager, WHTT, Miami, Florida.1981-1985

Owner, CyD Productions, Miami, Florida. Company specialized in Latin American program syndication and consultation.1986-1991

Consultant, Sales Manager and Vice President of ARSO Radio Corporation, San Juan, Puerto Rico, group operator of seven radio stations in Puerto Rico and Florida.1991-1994

Vice President of Operations for KKHJ-Los Angeles and KWIZ-Santa Ana, Califor-nia. 1994-present

Consultant and programmer, Radio Express ExitosExpress® and Tropical Express® program service for Latin American Radio stations.1995-1998

Heftel Broadcasting (later Hispanic Broadcasting), Los Angeles. Program Director-KTNQ-AM. 1998-present

1998-Present: Vice President, Hispanic Broadcasting Corporation, Dallas, TX.1997-present

Consultant to UnoRadio Corp., operator of the Salsoul, Radio Fidelity and NotiUno networks in Puerto Rico.2000-PRESENT

Consultant to Votionis, S.A., operators of a group of radio stations in Buenos Aires, Argentina.

SUMMARY OF EXPERIENCE

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CAREER EXPERIENCE

1959-1963Part time and weekend employee while in high school at

co-owned Black-formatted WJMO and Jazz programmed WCUY-FM in Cleveland, Ohio. Performed a diverse range of functions including janitor, transmitter operator, record librarian, studio operator and announcer.

Stations were owned by Richard Eaton's United Broad-casting, which was both an unusual corporation and a unique opportunity to learn from one of the fi rst major ethnic broadcasters in the U.S.

1963-1964While in México City, México as student interned at

Organización Radio Centro, operator of 5 AM stations under supervision of Mexican programming doyen Ramiro Garza.

ORC was one of the fi rst believers in duopoly in México, having assembled between 1957 and 1963 a collection of 5 AM stations in México City.

At Radio Centro, learned that good radio has no language. This market-dominant operator had state of the art equip-ment, a talented programming staff and strict formatics. They even had a promotion department that covered the city giving away prizes door-to-door to listeners.

Among duties were taking recorded newscasts to the differ-ent studios and carting and fi ling records.

1964Returned to Latin America to complete High School and

within a few months had obtained the Construction Permit for a new AM station in Ecuador. Radio Musical was the country’s fi rst “Top 40” station complete with jingles, DJ’s and the most modern equipment.

First considered a novelty (one local competitor called it the “pocket station” because so many people carried small transistor radios around to listen to it!), the station was top rated within 6 months of going on the air, commanding market leading rates.

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1967At this time, Quito had only one TV

station and no independent FM facilities. A license was requested for the coun-try’s fi rst commercial independent FM. Going on the air at midyear, easy lis-tening HCTM1 maintained a stance of “no commercials” for 6 months. When ads were fi nally accepted, the rates were nearly 4 times those of the highest priced AM. Yet the appeal of the format among advertisers was so high, “Teleonda” achieved sellout within its fi rst year.

1968One music format was still missing: Ecuadorian

folk music, the music of the indigenous population. A nearby AM on 590 was bought and moved into Quito. Although the listener target was not much sought by advertisers, there was considerable profi t to be made in messages for rural areas and greet-ings in general. Sold at a premium, each stopset consisted of many “meet me at the bus” and “your mother is fi ne” announcements. The most amusing: “Attention on the Porvenir Hacienda! The boss arrives on this afternoon’s bus. Please “bring a donkey to town to meet him.

1966... EcuadorThe commercial success of Radio Musical included the

overnight show, where tropical dance music was played. An ailing competitor at 805 kHz was purchased in early 1966, rebuilt, and launched in May as “Canal Tropical.”

The station’s working class appeal was a perfect comple-ment to the upper income youth appeal of its sister station... and an instant ratings winner.

In fact, the station went on the on May 21st, air half way through a Datos, S.A. survey, and was in the top fi ve nonetheless.

The cost of the acquisition? $2,500 for the frequency and home-made transmitter. Billing by end of year: $7,500 a month on costs of less than $2,000 monthly.

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1968... EcuadorAnother FM license was requested, and HCTT1

signed on in 1968 with a mix of paid embassy pro-gramming and classical music. Within a year, a week-end rock program had proven itself so successful that the station became the fi rst contemporary FM in South America, playing the latest Stones, Beatles and Zep-pelin cuts.

By 1969, had put the original three Quito AM sta-tions on FM with simulcast programming. My 5 sta-tions in that city accounted for nearly half of all radio audience in the market. During the period between 1964 and 1969, was sole owner, manager, group programmer and sales manager, as well as chief engineer.

Among functions was selling the group to national accounts and Ecuadorian ad agencies, which included McCann Erickson and affi li-ates of J. Walter Thompson and other major international shops.

1969For 6 months, lived in Washington, D.C. while preparing

for the F.C.C. First Class Radiotelephone operator’s license. At the same time, joined EZ Communications as operations manager for WEZR in suburban Fairfax, Virginia as well as assisting in the transition of the company’s WEZS in Richmond from classical music programming to Beautiful Music. Additionally, did market research and community ascertainment for an application to construct a new Class B FM in the Norfolk, Virginia area.

Objective of this move back to the U.S. was to establish a relationship with a company that was rap-idly expanding into FM broadcasting and in which a substantial investment in EZ Communications would

be possible upon the sale of stations in South America. By early 1970, it became certain that the left-leaning mili-tary junta of Gen. Rodríguez Lara was going to discourage investment in the local economy.

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1970 (LATER)Accepted the General Manager’s position at Mooney

Broadcasting Corporation’s (now Sunbelt Communica-tions) WUNO in San Juan, Puerto Rico. During the 7 month period while the transfer application was await-ing FCC approval, this previously profi table station had declined to last place in ratings and was losing over $20,000 monthly on billings of roughly $25,000 per month.

While making signifi cant changes in the programming, billings reached a level of $60,000 by December, only two months later. The following year, the station attained a ratings performance suffi cient to tie the station which for over 40 years had been alone in fi rst place. Cash fl ow for 1981 was in excess of $250,000.

1972To gain experience in the mainland US market,

transferred to Mooney’s newly acquired WERC and WERC-FM in Birmingham, Alabama as program director. Designed new format for the FM station, making it one of the fi rst 5 contemporary hit FM stations in the United States.

The Adult Contemporary AM and Top 40 FM established themselves as the dominant facilities in the market, a posi-tion which they maintained for the next ten years.

1970... Exile.

Unable to immediately sell the stations, returned to Ecua-dor and in partnership with the Bank of Guayaquil, built individual AM stations in Cuenca, Ambato and Guayaquil, the remaining three of the country’s top 4 markets. Associ-ate in this venture, Jaime Nebot, was the runner-up presi-dential candidate in the 1996 elections.

Failure of Bank of Guayaquil (closely associated with 1970’s losing political party, the CFP), and dangerous political unrest forced a hasty emergency departure from Ecuador, in late 1970. Majority of stations were put in a cooperative for the employees and thus saved from nationalization.

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1973... Los AngelesWhile at WERC, became consultant to Lotus Communica-

tions’ Los Angeles Spanish-language station KWKW. In 1973, additional consulting opportunities at Spanish

Language stations in the Southwest required relocation to the Southwest. Offi ce established in Phoenix, Arizona. Flex-ible schedule of consulting work allowed work towards a degree in marketing and advertising.

Stations consulted during this period included KENO, Las Vegas, KTKT in Tucson, and KRUX in Phoenix. Areas of consultation included programming, management and compliance with Federal Communications Commission and Equal Employment Opportunity regulations.

Was additionally Operations Manager of heritage Top 40 stations KRUX & KTKT during 1974.

1975-1980... San JuanManagement recruiting fi rm established contact to determine interest in

managing an AM-FM combination in San Juan. The facilities, WJIT AM & FM, owned by the major supermarket chain on the island, Pueblo International, had been losing over a quarter million dollars annually for over 4 years and seldom appeared in the ratings. San Juan at that time had nearly 25 stations, between AM and FM and total market billings of less than $8,000,000. The WJIT combination had non-intercompany billings of less than $144,000 per year.

Research determined that a total change of programming and identity was necessary for the stations, as well as a total reconstruction of the technical facilities.

WJIT-AM returned to the air in September as WQII, “11-Q”, with an adult contemporary format.

WJIT-FM reappeared on the airwaves in January, 1976 as WSRA, “Sonorama 93”, a Beautiful Music station. In the fi rst ratings to appear following the return, 11-Q was the number three station overall and obtained number one status in adults 18-49. The FM instantly became the top rated station on the band, and the combination rated number one in the market.

During years following, 11-Q maintained a position of fi rst, second or third in San Juan and the combination was profi table from its fi rst full year of operation.

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By late 1979, the competition on FM included 4 additional Beauti-ful Music operations, and the potential for the growth of WSRA was limited. Research for a format change was conducted in-house, and showing that the dominant form of Puerto Rican tropical music, called Salsa, had broad based acceptance in all socioeconomic levels, was improperly programmed on existing AM stations, and was not programmed at all on FM facilities, despite signifi cant FM set penetration.

1979... San Juan.

On December 31, 1979, WSRA became WZNT, “Z-93”, with a 100% stereo salsa format. Launch was accompanied by a 3-day TV satura-tion campaign, bus cards and exten-sive press promotion. A car window sticker based prize give away began on the third day. 100,000 stickers were distributed in the fi rst 10 days. By the end of the contest, 1,300,000 stickers had been picked up at Burger King restaurants, the contest’s cosponsor.

A Mediastat radio audience survey began only 11 days after the new format started. Despite the short lead-in time, WZNT debuted with a 22.5 share, fully 10 points above the number two station. By March, 1980, Mediastat showed

WZNT with a 33.5 share and an April Asesores Aso-ciados study gave the station a 42.3. Between WQII and WZNT, 50% of the total market audience was held by two stations.

As a Beautiful Music facility, WSRA had never billed over $35,000 per month. In January, 1980 (a notoriously bad month in Puerto Rico), the new

format accounted for billings of $57,000. By mid-1980, the combination had achieved months with billings in excess of $250,000, an amount in excess of 20% of market revenues.

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Generated considerable revenue through station produced concerts with salsa superstars such as: Ismael Rivera, Ismael Miranda, Tito Puente, Willy Colón, Rubén Blades and the Fania All Stars.

During same period, negotiated purchase options on an AM-FM in Miami (WWOK-WJOK) for $2.8 million and an FM in New York (WTFM) for $8.7 million. Supervised market studies and obtained fi nancing package from a lender group including Citibank and Manufacturers Hanover. Options were not exercised due to inability of parent corporation, Pueblo International, to consummate,

owing to claims against a discontinued supermarket subsidiary (Long Island based Hills, which was purchased and then closed by Pantry Pride), a situation which eventually lead to a takeover by major lenders of the parent corporation, Pueblo International, and its eventual sale to the Cisneros Group of Venezuela.

1979 (continued)

1980-1981... Miami.Named General Manager of Metroplex Communi-

cation’s Miami Spanish language AM station WHTT, programmed for the market’s large Cuban and Cuban-American audience. Within its fi rst few months of operation and despite an inadequate signal, WHTT had surpassed the audience levels of several longtime Spanish programmed stations.

Station was a victim of anti-Cuban backlash and fi rebombed in early 1981. Concern over the volatility of the market resulted in a sale of the station, the only Spanish language property of Norm Wain and Bob Weiss’ Cleveland-based corporation.

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1981... Miami.Established Música en Flor, a syndication and

consultation business, in Coral Gables, Florida.Produced syndicated music programming for

FM radio stations based on Latin adult contempo-rary music, the fi rst and only format syndicator to develop this market at that time. Provided client stations with advice on news, promotions, and sales. As many as 67 stations in México, Guatemala, El Salvador, Honduras, Panamá, Colombia, Perú, Chile, Bolivia, Paraguay, Dominican Republic and Puerto Rico subscribed to Música en Flor.

Additionally, offered custom consulting ranging from all-news to noncommercial educational for-mats. Clients of this type were located in Lima, Perú, Bogotá, Colombia (each with over 5 million population) and a number of smaller markets.

Produced fi rst-ever weekly new release service for radio stations in Latin America. A selection of the best new songs from across Latin America and Spain were provided to subscribing radio stations on tape well in advance of local release.

Provided Latin American radio station mailing lists to suppliers to the broadcast industry and several trade publications including Radio y Televisión.

During 1984 and 1985, a series of Latin American countries imposed severe currency controls in an attempt to control the fl ight of capital. This made paying dollars for the Música en Flor service nearly impossible in many nations.

Further, turmoil caused the loss of several clients; a Panama City client FM was burnt to

the ground by the local military because the sister AM station campaigned against dictator and drug lord Manuel Noriega.

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1986... San Juan.Transferred syndication and consulting business to Puerto

Rico to be in closer contact with record producers and several major clients. Syndication activities discontinued in 1988 due to tighter currency exchange regulations in a number of coun-tries which made payments diffi cult or impossible. Addition-ally, the political situation in several Latin nations (including the closing and bombing of a major group client in Panamá) reduced income potential.

Client FM network WPRM/WIVA rescued from a fi ve book downtrend to #8 in the market. Within 6 months was overall #1, and has maintained that position for 16 years and over 60 ratings books.

1988Due to ratings and sales success

of WPRM under consultation agree-ment, ownership offered full time position as General Sales Manager with additional responsibilities in the areas of programming, promotion and management.

By December, 1991, WPRM and its network satellite, WIVA-FM had registered 21 consecutive overall number one ratings books. Sales in the same 5 year period increased from just over $1 million to nearly $4.5 million, becoming the top billing FM operation in Puerto Rico. Cash fl ow has increased in excess of 300% over 1986.

Company purchased an AM-FM combo in Lake City, Florida, which was added to overall responsibilities in areas of sales, management and programming. Job title changed mid-1989 to Vice President.

WTNT & WNLS in Tallahassee, FL added to group in late 1990. FM, while top rated had negative cash fl ow in excess of $100 thousand in year prior to closing. With new management team in place, station cash fl owed over $300 thousand in fi rst year of new ownership.

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1994While continuing to work for KKHJ and KWIZ, was con-

tracted to prepare a Spanish language storecast radio station for K-mart stores in high density Hispanic areas of the United States as well as all stores in Puerto Rico.

Working with Detroit based Music Technologies International, researched and obtained music as well as providing translation services for this advertiser/

vendor supported in-store radio station delivered by satel-lite.

The U. S. Mainland service came to an end when non-Hispanic customers objected to hearing music in Spanish “in an American store.”

1991While consulting KKHJ in Los Angeles, CA, was offered

present position as VP of Operations. Given the increasing violence and criminality in Puerto Rico and limited growth potential of that market, joined KKHJ and sister Santa Ana AM KWIZ in February of 1992.

Shortly after arriving at KKHJ, a new Span-ish language FM, KLAX debuted, targeting local listeners of Mexican origin with a more music FM operation. Within 6 months, KLAX became the #1 station in Los Angeles. Despite the success of FM KLAX, KKHJ maintained its market share and retained its billing levels in a new competitive environment where FM seized nearly 70% of Hispanic shares.

By mid-1994, had created a 5-person morning team based on topicality and humor, which immediately began an 18-month period of growth, culminating in a fi fth place overall, all stations, adults 25-54 in the Fall, 1995 Arbitron. Left KKHJ in December, 1994 to join Radio Express full-time.

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1994 & ONGOING...While continuing with KKHJ, named programmer and consultant

to a joint venture between TM Century of Dallas and Radio Express, Inc. of Los Angeles to produce a Spanish music version of the well known Hit Disk® series of weekly CDs containing breaking songs. Radio Express, the international marketer for such programs as American Top 40, offers the service, called Exitos Express®, throughout Latin America and currently has several hundred subscribers who depend on the product to obtain the latest music.

The weekly preparation for a new Exitos Express® CD includes reviewing all product received from record companies in Spanish speaking countries as well as correspondents in Spain and Latin America, reviewing playlists from over 100 stations received by fax, and selecting the songs with the great-est international potential.

In late 1994, joined Radio Express on a full-time basis to oversee the internationally syndicated World Chart Show, a replacement for American Top 40 in the overseas marketplace.

1995 Rapidly growing Spanish-language broadcaster Heftel Broadcasting, Inc.

presented an offer to program their deteriorating heritage AM station in Los Angeles as well as assist in the programming, research, and computeriza-tion of sister FM KLVE.

The initial and highly research conclusion was to present “morning shows” all day long. This defi nitely did not work. The station sunk rapidly and decisively to a 1.0 share.

Programmers do not usually survive such disasters (KTNQ, in fact, had averaged one programmer a year for half a decade). However, I was deeply involved in the programming for KTNQ’s sister station, K-LoVE. Using a discovery form the KTNQ music research (which included KLVE partisans) and intricate fi ne tuning of the music rotations, a mix was devel-oped for KLVE that propelled it to #1 in Los Angeles by combining A/C music with soft Mexican traditional music, a formula now used all over the Southwest for similar stations.

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1996 & ONGOING...KTNQ had owned the Sports talk franchise in Los Angeles for many years.

To hold this mostly-male audience a bit longer, a relationship show was put on following the early evening sports block. The combination of sports and soft sex talk moved the station into #2 among all stations in the city.

The message was clear: talk works.So, in April of 1996, KTNQ became the fi rst

Spanish language station in the US to target 25-54 year olds with a 24 hour life-style talk format. Within just a few months, the station had achieved the top position in Arbitron among the six Spanish AMs.

An unusual lineup was developed. Mornings featured the topical humor of market veteran Humberto Luna, middays is a cross of Dr. Laura and Jenny Jones, while afternoons is more news and topic based. Sports fi lls 4 hours a day now

(8 hours on Sunday), and the relationship show has two resident psychologists. With variety in mind, weekends feature everything from a criminal lawyer to a Catholic priest!

By early 1998, KTNQ had 70% of all AM listening in Los Angeles; the success caused two competitive stations to also switch (not very successfully: neither obtains over a 0.7 share) to news and talk programming.

Following the Merger Heftel and Tichenor Media Systems, a decision was made to develop the same type of format at other HBC radio stations.

1998 and...Initial results at WIND in Chicago and

WADO in New York were most positive, with signifi cant increases in 25-54 listen-ing. At the same time, other HBC AM sta-tions were suffering the common fate of AM music stations.

In August of 1998, the position of Vice President of AM Programming and AM Networking was created to supervise the 12 HBC stand-alone AM facilities in New York, Chicago, Los Angeles, Dallas, Houston, Miami, San Antonio, Harlengen and El Paso.

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1998... Heftel Merges and becomes Hispanic Broadcasting Corp.

In late 1998, named Vice President - AM Pro-gramming for Hispanic Broadcasting Corpora-tion and given responsibility for WADO-New York, WQBA and WAQI-Miami, WIND-Chi-cago, KLAT-Houston, KCOR-San Antonio,

KESS-Dallas, KGBT-Harlingen, KAMA-El Paso and KTNQ, Los Angeles.

By late 1999, the basic structures that transformed the AM stations into all-talk facilities were in place and I was more involved with projects such as WCAA-FM in New York and WOJO in Chicago as well as KLVE-Los Angeles and the FM music stations in Las Vegas, San Diego and elsewhere. In October, 1998 was named corporate VP and given responsibilities that included many of the HBC FM stations as well as the XM satellite formats provided by HBC and projects for HBC subsidiary Momentum Research.

2000... Buenos Aires, Argentina.

In late 1999, Emmis International purchased the fi rst two of a planned group of stations in Buenos Aires, a market of 15 million in Argentina. The AM, “Radio 10” was already an AM band leader, but the FM, a music station curiously named “Radio News,” was at the bottom of the ratings.

It was decided to research a new format, and the most favor-able option proved to be “Rock Nacional” which is Spanish rock all by local artists. As a 100% Spanish-language rock station had never been done before anywhere, thee was an element of risk involved in interpreting research based on a brand-new format never heard in the market.

After music testing, Mega 98.3 made its debut the afternoon of April 24, 2000. On May 1, the local, diary-based survey began. In June, the results were released: Mega was #1 in 20-54 and #2 overall among several dozen FM stations in the market. This

worst-to-fi rst story is all the more signifi cant as the station had less than a week lead time before the ratings began!

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Representative consulting experiences:

Z-101, Santo Domingo, Dominican Republic. All merengue format with at least 30 direct competitors in this market of over two million. Sta-tion was faced with a new competitor operated by the former Z-101 manager. This station employed a format so identical that frequently both stations played the same record simultaneously. Format modifi ca-tions and an aggressive promotion plan were designed. In mid-1986, a personality morning show was implemented. In October, an audience survey approved by the advertising agency association showed Z-101 with 48% of the audience in this 64 station market.

Salsoul 98, San Juan, Puerto Rico. Consulted from 6/86 until beginning at stations full time in early 1989. All salsa format on 2 station network covering over 90% of island population. Station had been slowly declining in ratings over a 4 year period, having lost over 40% of total audience. In fi rst ratings after adjusting rotations and music balance, station registered a moderate increase in listening levels. Three months later became number one station in all Puerto Rico. By December, 1987, Salsoul network had a 9.3 share, with next closest station registering a 5.2. At that time, network had registered a six-book up trend and had increased total listening by over 100%.

CONSULTING

Consultation has covered areas including news and music programming as well as management, sales and engineering as well as expert testimony in FCC proceedings.

WMDO, Washington, D.C. WOJO, Chicago, Illinois (1983 FCC Hearings) KFJZ, Dallas, Texas Z-101, Santo Domingo, D. R. WSUA, Miami, Florida KNTA, San José, CA WCMQ, Miami, Florida Radio Omega Lima, Perú WBZT, Orlando, FL Catholic University,(WEUC) Ponce, P. R. Radio Fórmula, México WPRM, San Juan, Puerto Rico WFID, San Juan, PR WUNO, San Juan Puerto Rico WDOY, San Juan, PR WCMQ, Miami, FL KXTQ, Lubbock, Texas. Swanco Broadcasting (KESS), Ft. Worth, TX XEUAS, Sinaloa, Mexico Amaturo Broadcasting (WLVH), Hartford, CTUnoRadio Group, San Juan Votionis, S.A. Buenos Aires, Argentina

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CONSULTING EXPERIENCE

Cadena Salsoul, Puerto Rico. In 1997, began second period of consultation for Islandwide net. Ratings had been falling for two years; music research and call-out center implemented and station rose to highest point ever. In Summer, 1998 Arbitron began measuring Puerto Rico as the 13th largest US market. Salsoul debuted in the book at #1 with an 11.3 share; the #2 station had a 6.9. By Summer of 1999, the Salsoul net had reached a 13.5 share and a cume of over 1 million, the only station in Puerto Rico to ever cume over 1/3 of the total 12+ island population.

WOJO, Chicago, Illinois. Study of market and station service to the His-panic Community was conducted for presentation in Federal Com-munications Commission Administrative Law Hearing to determine the possible revocation of the station license to operate. Study was accepted by hearing judge as testimony. Attorney representing licensee certifi ed that testimony was of signifi cant importance in achieving renewal of the WOJO license. The unencumbered license and station facility was later sold for an amount in excess of $9,000,000.

WUNO, San Juan, Puerto Rico. Began consulting this station in 1981 when it programmed music; gradually added news, starting with a news block in the morning and developing into a 24-hour news operation networked on 11 other stations in Puerto Rico. Name changed to “NotiUno” to refl ect all information format. To counter ratings and heritage of market leading news station WKAQ, WUNO took a far more local approach to coverage and assembled a network of telephone strings across the island and the Caribbean to obtain breaking news. Within two years, WUNO had achieved island-wide parity with WKAQ.

KXTQ, Lubbock, Texas. This AM station was changed to Spanish program-ming by owner Bakke Broadcasting in 1984 under manager Sam Bakke. Quickly became the market’s Hispanic leader due to better programming and an excellent 5 kw signal on 950 AM. Services included determination of music format, talent selection, call letter change and general formatics. Unfortunately, the overextended multi-market group owner fi led for bankruptcy before the planned Tejano format could be put on the sister FM operation.

Emmis International, Buenos Aires, Argentina. Participated in change of format of a newly acquired FM. Mega 98.3 became the #1 adult sta-tion in Argentina after only a month on the air with a well researched format of Argentine rock, all in Spanish.

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CONSULTING EXPERIENCE

WDOY, San Juan, Puerto Rico. Dance music lived on in Puerto Rico after the craze faded on the Mainland. In 1980, consulted Pan Caribbean Broadcasting’s Y-96 FM with a disco/dance CHR format. Using one of the fi rst applications of computer music scheduling (Generation II, later merged into RCS/Selector), Y-96 parlayed minimum wage jocks and a rimshot signal into the #1 12-24 operation in the 1.3 million San Juan market, and ranked #2 12+.

WMDO, Washington, DC. This daytime AM was attempting to serve every nationality among the Hispanics living in Washington rather than employing a format which would have mass appeal among all Hispanics. WMDO was playing music from each of the Latin American countries, instead of the hits and familiar songs that are international in appeal. A refocusing of music and presentation allowed this station to better serve the area, which is perhaps the most mixed of all Hispanic markets in the U.S.

Metromedia International, Santiago, Chile. Served as a consultant for Metomedia’s international broadcast group for an acquisition and operation plan in Chile. Conducted research, format search and market evaluation to determine programming for a 5-station acquisition. Financial conditions caused by telecommunications property losses in Eastern Europe did not allow this project to progress.

Radio Omega, Lima, Perú. This AM-FM combo is owned by the Arch-diocese of Lima. It was established with the objective that the FM station would be a profi t center so that the AM station could fulfi l a pastoral objective. An easy listening Adult Con-temporary format was implemented on the FM station and this met with instant success in cosmopolitan Lima (population, 5.5 million). The AM, on clear-channel 660, was organized as a popular appeal music station with short pastoral and educational messages between music sweeps. This was a major and radical departure from the customary half and whole hour preaching programs on religious stations in the region and, naturally, it met with excellent results in all of Southern Perú.

Grupo Radio Fórmula, México City, México. Consulting for this 5-sta-tion duopoly in 1977-1980 included market research, formatics and promotion for one of Mexico’s major group operators and a pioneer in independent FM broadcasting, Rogerio Azcarraga.

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BACKGROUNDBorn: January 5, 1946, Cleveland, Ohio.Education: Hawken School, Lyndhurst, Ohio, Colegio Americano, Quito, Ecuador, Arizona State, Tempe, Arizona. Business major in marketing & advertising. Additional studies: Cleveland Institute of Electronics and National Radio Institute: Various home study electronics, engineering and mathematics courses.FCC License: Hold FCC First Class (General) Radiotelephone license. Qualifi ed in FCC administrative law proceedings as expert witness in matters of programming and management. Publications: Hispanic radio programming speaker, 1983 Convention, National Association of Broadcasters, Las Vegas. American Marketing Association seminar speaker, Anaheim, 1993. Articles or columns published in Prensario, Buenos Aires, Argentina, Fono Tip, México, D.F, Radio & Música, U.S.A. Published Latin American radio station directory, 1963. Panelist at R&R, Radio & Música and NAB conventions 1996, 1997, 1998, 1999.Memberships: Past member of IEEE, Society of Broadcast Engineers, Broadcast Pioneers, Institute of Broadcast Financial Management, Asociación Ecuatoriana de Radiodifusión, Asociación Interamericana de Radiodifusión. While member of Puerto Rico Broadcasters Association served on Ratings Committee and Music Licensing Committee.Computer: 24 years of experience in mini and microcomputer traffi c, billing and accounting systems. Profi cient in microcomputer applications and system design. Have written custom programs for music rotation, sales tracking, automated sales presentations, and ratings analysis.Languages: Fully bilingual (read, write and speak) English/Spanish.

Contact: 984 Riverside Drive #2, Burbank, CA 91506 Phone: 818.238.9915 FAX: 818.238.9665 Internet: david@davidgleason.com